Ever since releasing their debut EP in 2016, the Croydon emo collective Bellevue Days have spent the past several years wearing a slightly romantic facade, so to speak. A common staple of the DIY live circuit, the band have spent the past several years slowly but steadily building a reliable and dotted fanbase across the nation, with their introspective and withdrawn take on the genre allowing the band to be commonly associated with acts such as Luke Rainsford, Don’t Worry and Muskets.
Whilst their earnest material has allowed the band to be the subject of a budding following, their debut album see’s the group renounce the relative shyness of their previous work in order to truly detail their inner torment and frustration. It Can’t Possibly Go Wrong Ever see’s Bellevue Days turn their heads towards the power of acidic grunge, heavy alt-rock and fresh dynamics – all without ever losing their established identity or aesthetic.
Produced by long-time collaborator Jason Wilson (You Me At Six, As It Is, Dinosaur Pile-Up) It Can’t Possibly Go Wrong Ever see’s Bellevue Days venture outside of their comfort zone in order to explore new creative avenues. With it’s delicate stings, volatile passion and crystalline melody, album opener ‘Gentle Flower’ establishes the blanketing atmosphere of electrified angst instantly. Such atmospherics become transparent with the instant blast of ‘Shotgun’, with it’s shimmering tone and electric swagger being destined to be staple of the band’s live show for years to come.
There’s a newfound sense of urgency within this record that goes hand-in-hand with the group’s new venture into more sonically heavy pastures. Compared to the group’s previous EP’s, the record is far more sonically heavier, with such new dynamics amplifying the intimate and relatable sense of angst the group have become known far. ‘Jouska’ stands as one of the most immediate and transparent tracks within the record, with the track being a partially damning documentation of troubled family ties and how such strained relationships are the cause of the decline of personal mental health.
In relation, ‘Sleep Repeat Again’ is undoubtedly one of the most heavy and direct tracks the band have ever produced, with it’s violent jarring and pent-up tension harking thought’s of Boston Manor’s most recent record. Even with this new adventure into heavy alt-rock dynamics, the band’s attitude and persona is still the forefront of their music, with this record sounding like the natural next step for Bellevue Days.
Whilst their previous material has primarily served as a platform that has allowed the band to document their own personal challenges with mental health, loss and relationships, this record see’s the group use their craft to explore more broad topics. From documenting our deteriorating culture to telling tales from the perspective of others, the scope of It Can’t Possibly Go Wrong Ever is far wider than it’s respective predecessors. The likes of ‘Dashboard Jesus’, and the shoegaze edge of ‘Losing Touch’ see the group poetically readapt their lyricism and vocal delivery without compromising the stressed sense of importance that makes this record so arresting. Even with these tracks appearing far more ambiguous than some of the more direct tracks on this record there’s still a stark sense of relatability present.
It Can’t Possibly Go Wrong Ever is a major step up from Bellevue Days. It marks the band straying from the relative comfort of their youth in order to successfully explore more creative and urgent avenues that truly compliment their work as a collective. While the band has been a common presence within the national toilet circuit, It Can’t Possibly Go Wrong Ever will allow the band to break out and reach more lofty destinations.
It Can't Possibly Go Wrong Ever Is Self-Released Friday 22nd November